1 VA N
PLBLISHED QUARTERLY BY THE PENNSYLVANIA Ml;
AND SCHOOL OF INDUSTRIAL ART
SUBSCRIPTION, ON!- (uii.lAic A YRAR
AND SCHOOL OF INDUSTRIAL ART
Board of Trustees
I'HB Governor of the vState, Ex-Of. The Mayor
Mrs. Rudolph Blankenborg John Storv Jenks
John G. Carruth
Mrs. Henry S. Grove
Charles H. Harding
Thomas Skelton Harrison
John H. McFadden
John D. McIlhenny
Mrs. Arthur V. Meigs
John W. Pepper
Eu Kirk Price
of the City, Ex-Of.
Walter H. Rossmassler
Theodore C. Search
Edgar V. Seeler
Mrs. Joseph P. Sinnott
Edward T. Stotesbuby
Jambs F. Sullivan
THEODORE C. SEARCH, President
JOHN STORY JENKS, 1
JOHN G. CARRUTH, /
JAMES BUTTERWORTH, Treasurer
LESLIE W. MILLER, Secretary, Principal oj the School
LANGDON WARNER, Director of the Museum
HAMILTON BELL, Acting Director of the Museum
For April, Nineteen Hundred and Eighteen
(.rave Potterj' of the Korai Dynasty, • By Mrs. Lanp;do
Indian Sculpture. By Hamilton Bell
Venetian Lecterns. By Mrs. Cornelius Stevenson
' ■ i , ]903, BtPhUadelphia, Pa., :. ■' ' —
THE PENNSYLVANIA MUSEUM
APRIL, 1918 SIXTEENTH YEAR Number 61
GRAVE POTTERY OF THE KORAI DYNASTY
The custom of burying ceremonial vessels with the dead persisted in Korea
until a hundred years ago, and to this custom we owe the preservation of
thousands of beautiful pottery objects which otherwise, in the destructive
households of the East, would have vanished centuries ago. So many of these
tomb vessels are defective or deformed in the firing, that it has been supposed
that imperfect pieces were commonly used for burial purposes and doubtless
this was often the case among the poorer people; on the other hand many of
them are so fine as to seem to prove that in many instances the very best of a
man's possessions were buried with him. This is emphasised by the finding
of bronze vessels, implements, mirrors and articles of jewelry of the highest
quality of achievement.
In Korea the most beautiful pottery and porcelain dates from the Korai
dynasty, which ruled the peninsula from 932 to 1392 A. D. Omitting for the
moment all consideration of the rough hand-moulded pottery of South Korea
which had so strong an influence on that of Japan, especially on the various
wares favored by the tea-masters, we find that the wheel-made pottery of North
Korea can be divided into two main types ; the celadon-like ware, with or without
inlaid or painted designs, and the white pieces that are sufficiently near of kin
to the Ting Yao ware of China to be wrongly attributed to that country even
by some of our foremost museums today.
The celadon-like ware is heavy, sonant, beautifully potted. The clay is
clear grey. Spur marks, varving in niunber from three to twelve, are found
almost invariably on the bases" of the pieces. The glaze is clear, thick, vitreous,
of a greenish blue which is easily distinguished from Chinese celadon. In the
decorated pieces the design is sometimes painted under the glaze in a reddish
black pigment which turns black with baking; sometimes done with an inlay
of white clav either with or without the accompanying details m black paint;
and sometimes merely incised so that the glaze flowing thicker m the incisions
makes the pattern appear somewhat darker than does the rest of the object.
These incised designs are either drawn freehand with a tool, m very low mtaglio
under the glaze, or else impressed by means of a mould or stamp; m the hner
specimens the work is as good as in the best Chinese wares similarly ornamented,
for which they are sometimes mistaken. The use of these two methods is
18 BULLETIN OF THE PENNSYLVANIA MUSEUM
common to the white and celadon wares. In Japan the term for undecorated
celadon-Uke ware is Korai seiji (Korai celadon) ; this name is also applied to
pieces decorated with incised or moulded patterns. The celadon pieces with
inlaid designs are known as Korai unkaku (Korai clouds and storks) from the
frequency with which this pattern appears, and those with painted ornament
are called Egorai (picture Korai).
The best known and in some ways the most interesting of these types is
the Korai unkaku, and its characteristics are worth noting as being perhaps
unique in the history of Eastern potterj^ and certainly characteristic of the
Korai wares. The object to be decorated is built up or wheel-turned out of
the grey clay; the design is then incised, and an inlay of fine white kaolinic
clay, like that used in the fine white Korean pottery, is inlaid into the intaglio
lines, thus bringing the design flush with the body of the object. In many
cases this design is completed with black paint before the glaze is flowed on.
A common design is of a small aster-like flower, probably some form of chrysan-
themum, which is used both freely and highl}' conventionalized, but a large
variety of designs has been noted and their combinations follow ancient
The small aster-like flower is much used in the pottery that was made in
Japan centuries ago and is still being made in the Korean manner ; the pottery
called mishinia. It is however no more likely to be confused with Korai unkaku
than is Sung celadon to be confused with Korai seiji.
The process of inlaj-ing a design in a piece of pottery seems to have
originated in Korea before it did elsewhere, but of this fact there is not at
present sufficient evidence at hand to justify me in making a positive assertion.
It is however certain the process was not used in China and that it appeared
in Japan only after the Japanese had been taught it by the Korean potters.
In the small exhibit, now shown, is only one of the celadon-like pieces and
this inlaid in the mishima manner. The group of small white dishes in the
same case are of the type known in Japan as hakugorai (white Korai) and
belong to a group of Korean wares wrongly labelled by certain people as Sung
Ting Yao. Although we are unable to show the great ^'ariety of shapes that
are to be found in white Korai pottery we have in these small dishes examples
of the different glazes.
The most obvious argument against a Chinese provenance for Korean
white ware is that thousands of unbroken examples of this very fragile and
delicate porcelain have been found in Korea and none exactly like them in
China; and that while trade between China and Korea was of course constant,
yet it is hardly likely that they would ha\'e survived a journey of a thousand
miles or so in such quantity as to be still available by hundreds in Korea.
But more conclusive than this is the proof shown by the objects themselves.
To begin with, Korai unkaku is indubitably Korean. A certain large pot in
the Museum at Seoul is of the grey clay and celadon-like glaze common to all
Korai seiji. It is without question a typical Korai unkaku piece. But its
interest lies for us in the quantity of white inlay that it shows. Instead of
having very small flowers or storks or some other design scattered over it, it
has two large panels or medallions, perhaps four inches by three, made of the
BULLETIN OF THE PENNSYLVANIA MUSEUM 19
white clay. These medallions are inlaid precisely as the smaller patterns are
inlaid; on each appears a design, partly painted and partly of the grey clay
that forms the body of the jar. The entire pot is covered with a snigle glaze,
which over the grey clay is of the strong green-blue color of Korai seiji, and
over the large white medallions is of the vitreous bluish tone of the best
hakngorai. A small bottle recently acquired by the Metropolitan Museum is
equally clear in proving that the glaze used on hakiigorai is the same as that
used on Kcrai seiji and Korai unkaku.
Under the general term of haktigorai (white Korai) maj- be included all
the variants of glaze, color and potting for which the same hard, white, close-
knit, and generally sonant body clay has been used as a foundation. But the
- word in its particular sense is also used to define those pieces in which the
glaze, even when it flows deep, has no trace of green or blue or yellow. It is a
creamy white, even, thin, and often covered with a close net of crackle. There
is more reason for confounding this type than any of the others, with Ting Yao.
The commonest glaze on the white pottery is that called by the Japanese
seijihakii. The almost colorless consistency of the vitreous glaze results in
a white ware with an aqueous blue tone where the glaze flows deep,
A variant in color from this seiji bakii is the so-called amegiisuri (honey
glaze). Bvit this yellowish tinge may well come from the glaze that appears
on a number of regular Korai seiji pieces in which the color is so far from celadon
that it is nearer a brownish yellow. It is not likely that this is more than a
The glaze called by the Japanese nyoju is on the other hand quite different
from haktigorai and seiji baktt. It is a greasy white, without craze or crackle
or bubbles; it seems slightly opaque and shows the "tear-drops," which are
supposed by many people to prove a Sung origin. As a matter of fact the
presence of " tear.-drops " in a glaze has no significance whatever except to
show that the glaze was not perfectly controlled. Nothing could be further
from the truth than to consider them t\'pical of a certain period or proof of a
Characteristic of all the white Korean pottery is the pure white clay,
the presence of few spur marks on the bases, but often traces of sand ; an appear-
ance of having been string-cut and filed ; generally an unglazed border to saucers
and bowls, which was meant to be covered with a metal rim; lightness and
generally sonancy; very fine clean potting; shapes wheel-turned and then
often pressed over a decorated mould ; and in many cases a quality of hardness
and thinness that makes the pieces as translucent as porcelain if held to the
The delicate thin bowls occasionally show an interestmg technique which
resembles that of Chinese "rice-grain" porcelain, but which I believe to be
purely accidental in the Korean examples. I have in mind two bowls, one in
the Museum of Fine Arts, Boston, and one in the collection of Mr. Charles W.
Gould of New York. In both of these the design is of flowers and karako (lit.
"Chinese children"). The incision is deep, the glaze flows smoothly over
it; perhaps in the shrinkage caused bv baking, the design has become m many
places a slit in the sides of the bowl; the glaze over it leaves it transparent,
20 BULLETIN OF THE PENNSYLVANIA MUSEUM
on the same principle as in the so-called "rice-grain" porcelain. I assume it
to be accidental because I have seen it so seldom in Korea and because the.
designs do not lend themselves to the technique; they are not constructed in
the manner of stencils, but are more pictorial than merely decorative, whereas
the designs in Chinese "rice-grain" porcelain and in the Persian "Gombroon"
ware, based on this last, are pure ornament.
The fine craft of potting appears to have degenerated toward the end of
the Korai d^Tiasty and the white wares of the succeeding period, Ri, are coarse
in shape, technique, design, and glaze. The celadon-like ware was discontinued,
but before it ceased to be made it had lost its original simplicity of form and a
most elaborate and ugly tradition had debased it. The highly ornate pieces
of the late makers, while perhaps ably potted with their undercutting and
sculpturesque qualities, are lacking in taste and beauty.
Today under Japanese tutelage Korai sciji is being made again in Korea,
and the old art is revived for modem use.
L. 0. W.
The Pennsylvania Museum has recei^'ed recently as a gift from M. Paul
Mallon of Paris a fine red sandstone head of the Mathura School of Indian
Sculpture and dating from the second or third centuries of our era. It is 25 cm.
in height and is set on a modem black marble stand. In all probability it
belonged to a statue of the Buddha, as it is uncrowned and the hair is treated
in formal curls turning from right to left, as described in the scriptures. It
lacks, however, the ushrisha or curious lump on the top of the head which in all
probability is merely a conventionalization of the method used by the higher
classes of the early Indian peoples in arranging their long hair. In many of
the Gandharan sculptures it is certainly a knot of hair and, in that art, was
common not only to the Buddha but to many other personages, human and
divine. The treatment of the features, particularly the deep setting of the
eyes, is more western than native Indian but this is a characteristic of much
of the sculpture from Mathura and Samath.
It is gradually being realized that the influence of Classic art on that of
India has been to a great extent exaggerated by the discoverers of the abundant
remains of the Gandharan school and their immediate successors. Not that
this is not in itself a very important phase in the history of the arts of the world.
The fact of the wide dispersion of the Hellenistic sculptors to the Eastward is in
itself of great interest and their influence on the arts of the whole further East
But its chief achievement was in demonstrating to the Buddhists that it
was possible, without irreverence, to represent the object of their adoration
in human form. This idea, familiar to the European mind, does not seem to
have dawned upon that of the Indian people until revealed to them by the
Head of Buddha from Mathura
Indian, probably Twelfth Century
24 BULLETIN OF THE PENNSYLVANIA MUSEUM
Romanized Asiatic Greeks who in great numbers carried their craftsmanship
far into the East. It so happened that the figure of the Buddha, then and
there evolved, came to be accepted as the canonical presentment of him through-
out the Buddhist world. Nevertheless the religious spirit and the ideals of
beauty remained essentially Indian.
The Hellenistic influence seems to have been felt first sometime during the
first century B. C. and to have reached its climax between 50 and 200 A. D.
Little is found that can be dated after 400, by which time whatever influence
Greece had exercised on Indian art was practically exhausted. Spreading
from the Gandharan Kingdom, in the extreme Northwest of India, this style
produced an effect on the arts of India, diminishing as it receded from its source.
Mathura, a little to the Northwest of Agra, not unnaturally received a con-
siderable amount of the "Greco-Buddhist" impress, but it certainly derives
mainly from the older art of the peninsula, which is best displayed in the sculp-
tures of Sanchi and Barhut. In the sculptures found here and at Samath we
can see the Western formula gradually being absorbed by and lost in those of
the dominant Indian.
We have in the Museum a few other specimens of ancient Indian sculpture.
The most important of them all is a high relief in black carboniferous shale or
clay slate, of which the eminent authority on Indian art. Dr. A. Coomaraswamy
of the Museum of Fine Arts, Boston, writes:
"It undoubtedly represents Surya Deva, the Sun, driven by Aruna in the
seven-horsed car. I think you are fortunate to possess such a fine piece of work.
It is very accomplished, and well preserved; it is however altogether conven-
tional in detail as well as composition. I should describe your figure as Surya
Deva, school of Bengal or Bihar under the Pala dynasty, probably twelfth
century." The influence of the Pala style spread as far as Orissa,
"The small figures of female archers represent Usa and Prat}ai,sa driving
away the darkness. The female figures with cditris or cdmaras are the goddesses
RajnT and Niksubha. The larger male figures are probably Pingala (proper
right) and Danda, protectors of the Sun against the Asuras. "
The group is 5 feet 1 1 inches high and 2 feet 7 inches wide at the base.
It is said to have been found, in 1833, imbedded in the mud at low water mark,
on the island of Sangur "Gunga Sanjuri" at the mouth of the River Ganges
by Mr. P. G. Sinclair, a pilot in the Honorable East India Company's service;
purchased from him by its late owner Mr. John W. Rulon then residing in
Calcutta, and sent in 1835 to Philadelphia, it was deposited in the Museum
The three headless female figures are of pale red sandstone, the tallest
being 2 feet 9 inches high. They are late mediae-\'al, perhaps even seventeenth
century, says Dr. Coomaraswamy, adding, "There is something about them
that suggests Tanjore or Bengal and also some kind of European influence
vaguely suggested." They belong to Judge Sulzberger's collection.
It is greatly to be hoped that we may by degrees acquire other examples
of this most interesting art, which is not elsewhere represented in Philadelphian
BULLETIN OF THE PENNSYLVANIA MUSEUM 25
The Museum, through the generosit}' of Mr. Frank Ralston Welsh, has
recently been enriched by the possession of two lecterns of gilt canned wood,
probably of Venetian workmanship. One of these, that represented in the
accompanying illustration, is 5 feet 7 inches high and dates from the eighteenth
century. It is well preserved and is highly ornate, with a cherub's head and
scrolls of rococo effect. The desk is covered with old brown leather, probably
original, with gilt tooling of simple style, and the Christian monogram I. H. S.
in the center.
The second specimen is smaller and of more modem manufacture and of
less interest from a museum's standpoint. The desk is covered with red velvet,
but it is likely that like the liner piece it was used for ecclesiastical purposes.
The Lectern or Lectry, in French Letrin, Lestrin, Leutrin, and finally
Lutrin, in Italian "Leggio, " means a reading desk used for religious purposes.
But the lectern is found in private use through the Middle Ages under Louis IX.
It grew to considerable proportions in the fifteenth century. In 1472 there
are mentions of such lecterns, which are quite elaborate in their ornamenta-
tion as well as of considerable size. These contained space for some thirty or
forty volumes. The old inventories often contain entries of such lecterns,
royal as well as private, and innumerable pictures show them in use.
After the sixteenth century, however, at least in France, the lectern becomes
an article of furniture purely assigned to religious purposes. It is probable that
the same holds good for Italy.
It appears from certain passages in old chronicles that the pulpit originated
in the lectern or reading stand. For instance, of Dandolo, Doge of Venice,
ascending his pulpit in St. Mark's, it is said by Villehardouin :
"Le bon Dux de Venise qui molt ere sage et pros, monta el leteri et parla
au peuple" — (The good duke of Venice who was most wise and brave ascended
the lectern and spoke to the people) .
Again, in the "Roman de Guillaume au Court Nez, " the two following
lines read :
"Uns archevesque est le letrin monte,
Qui sermonna a la Chretiente."
Our Archbishop ascended the lectern and preached to the Christian world.
(See Havard, Diet, ds I'Ameublement et de la Decoration, Vol. Ill, p. 320, Art.
Again in the Grandes Chroniques de France (V, p. 339) for the year 1330:
" mais le jour ensuivant il monta sur le letrin, " etc.
In his " dictionnaire et}-mologique," Menage designates "Letrin" as the
pulpit from which a sermon mav be preached.
As there was in the Pennsvlvania Museum no specimen of the ancient
lectern, the gift of Mr. Frank Ralston Welsh is a most important as well as
valuable addition to its collection of furniture. c v q
O. 1 . O.
BULLETIN OF THE PENNSYLVANIA MUSEUM 27
Mr. W. Ellis Scull has lent the Pennsylvania Museum in Memorial Hall
a small but interesting collection of works of art which are now on view.
First in size, and in many ways in importance, is a throne seat of sixteenth
century Italian style, made of carved walnut and decorated with panels and
mouldings of the characteristic Italian Intarsiatura work, i. e., inlay in coloured
woods. This is the only example of this method of decoration in our collection,
and while not so elaborate as many specimens to be found in the churches and
sacristies of Italy, is excellent in taste and moderation.
The process of inlaying one material with another is of great antiquity.
Ancient Egyptian work in this kind has been found of as least as early a date
as the fifth Dynasty, and it persisted throughout classic times. It probably
died out with the other arts in Europe during the Dark Ages, and owes its
revival to the renewed intercourse with the East, which had preserved the
practice of most of the Arts during their eclipse throughout the rest of the
world. Its revival in Itah', where first it reappeared, seems to have taken
place in Siena, where we hear of it as early as 1259. Workmen from this city
were employed elsewhere in Northern and Central Italy during the succeeding
centuries. About the end of the fifteer th century Florence took the lead in this
as in other arts. Splendid examples of intarsia work may be seen in the
sacristies of the Duomo, Santa Croce, Santa Maria Novella and other churches
of that city. The largest and most elaborate work remaining to us, the stalls
in the cathedral and San Domenico, and the wainscoting in the Sala del Cambio
at Perugia, were the production of Florentine artists. For artists they were,
many of them being sculptors and architects of note as well as iniarsiatori.
Here the familiar ornament of the period, together with sprays of flowers and
other natural objects, are treated with just the right combination of naturalism
and conventionalization which keeps them within decorative bounds. Not
much intarsia work of importance was executed after 1500 in Italy. Though
the art as may be seen in this sixteenth centun- example by no means ceased
Mr. Scull's throne has, besides the inlaid borders, a coat of arms in a shield
which looks more seventeenth than sixteenth century in style.
With this he has lent a fine old mahogany armchair of English or American
make, formerly the property of Judge James James, 1730 to 1807, and a Colonial
mirror in a car\'ed and gilt mahogany frame.
One of the small fragments of sculptured marble is a sphinx, of French
eighteenth century make, full of the charm of the Louis XV period; the
traditional body, half woman with lion's paws, is topped by a piquant little
marquise's frimousse with an eleganth' arranged perruque.
A most interesting loan to students is a carved wood-block, probably of
eariy eighteenth century date, such as was used in Europe for the printing of
chintzes and the flock wall-papers so much in mode in that day.
Finally he has lent the Museum a number of pieces of pottery and porcelain
which will be useful in fllling the gaps in the admirable collection of those
formed with so much taste and knowledge by our late Director, Dr. Ldwm
28 BULLETIN OF THE PENNSYLVANIA MUSEUM
Atlee Barber; this is in its way one of the most important and valuable of such
collections in this country.
Among Mr. Scull's pieces are an extremely good water-cistem of Rouen
ware, a type which is not very well represented in the permanent collection,
and a very curious majolica placque, perhaps of the somewhat rare Siennese
manufacture, painted with a copy of one of Pinturicchio's famous frecsoes in
the Library of the Cathedral at Siena, which commemorate the life of i^neas
Silvius Piccolomini, of the great Siennese family of that name, who became
Pope Pius II. These frescoes, ten in number, were painted in the years 1502
to 1507, and it is a matter of record that the youthful Raphael worked on them
as an assistant to the master. This is a copy of number five of the series and
represents the reconciliation of Piccolomini with Pope Eugenius IV on the
occasion of his reception as envoy of the Emperor Frederick III.
There are, besides, sorae very good Delft plates and a large blue platter
by Ridgway with a view of the Capitol at Washington before the erection of
the present dome in 1863.
Beginning with the re-opening of the sessions on the 7th of Januar3^ after
the Christmas holidays, a preparatory class was inaugurated to meet the needs
of pupils entering for the last part of the school year. Owing to the difficulty
of securing instructors it was only possible to arrange the lessons for two whole
and two half days a week with the privilege of attending the Saturday morning,
and the regular evening sessions, no student being entered for less than a full
month. Very soon after this arrangement, it was found necessary to close the
Saturday classes to further registration, and withdraw this privilege to the
Many inquiries for classes in mechanical drawing have been received
owing to the great need of draughtsmen, and the excellent salaries offered;
it has not been feasible to consider the giving of anj' more time than already
arranged for, to this subject.
Miss Elizabeth Norris who has been assisting Mr. Wanvick in the regular
day and instrumental drawing classes, received the appointment of instructor in
drawing and design at the re-organized Public Elementary Art School (formerly
Public Industrial Art School), which will occupy too much of her time to admit
of her carrying on the work here. The new position is important for the reason
that the Board of Education contemplates the development of a better type
of art school than has been conducted under its management.
Miss Gwendolyn Harrison has been appointed first art instructor in the
Philadelphia Trade School for Girls, just established as a regular part of the
city's Public School system, corresponding to the Philadelphia Trade School
for Boys. Miss Harrison is a student in the normal class, this being her second
BULLETIN OF THE PENNSYLVANIA MUSEUM 29
term here. Her appointment is a very gratifying testimonial to the result of
her studies in the school.
The Alumni Association has added several new subjects to its war activities ■
To aid the Bureau of Public Information, Washington, by offering in the
School two prizes for :
(a) The best sketch for a poster dealing with national interests, as Con-
servation of Food, Fuel, Navy Enlistments, Third Libertv Loan, etc. (Awarded
to Bernard Fullmer.)
(b) The most effective slogan for a similar use. (Awarded to Miss Venette
The suggestions, numbering forty, were commented upon most favorably.
The value and range of the suggestions were especially noted, and it was pre-
dicted that several would be used in important government advertising
To donate materials, and supen-ise the making of large panoramic charts
for machine-gun drills in the various cantonment camps.
To organize a campaign among the members of the association and the
students for the sale of War Thrift Stamps. The association appointed a
representative to organize the sale in the School, and in two months sold
thirteen hundred dollars worth ($1,300).
The association has proposed practical instruction in the use of farm tools
and the preparation of the soil for vegetable growing. The suggestion is to
utilize the court -yards of the School, and have demonstrations made either by
competent members of the association or volunteers from outside, to squads
of pupils who would be interested and willing to study the work. It has also
been suggested that among the owners of countr\' properties connected with
the School, places might be found for students so trained, to the mutual advan-
tage of the owner and the worker, and in this way losses through draft might
be made up.
An organization has also been effected for the drying of fruits and vegetables
during the summer, ample contributions of material having been promised for
this purpose. This form of food has been placed fourth on the list of supplies
advantageous to send to French hospitals, and when ready will be forwarded
directly to the individual establishments, thus saving time in re-handling.
Demonstrations of the drying processes are to be made before the pupils, at the
School, by representatives of the State organization.
Classes for training marines in sketching, and the graphic work required
by members of the Fire Control at League Island, have been formed (sessions
being held Friday evenings), of which Mr. Ege, Mr. Pitz, Mr. Sinnock, and Mr.
Warwick are in charge. They are attended by a group of interested and capable
volunteers to whom the instruction is of direct benefit in the making of semi-
realistic maps of different types of terraine and objects in the landscape.
An exhibit has been sent to State College, at the request of the Art Director
of that institution, to be established in a separate room in the Museum. It is
30 BULLETIN OF THE PENNSYLVANIA MUSEUM
desired by the college authorities to show the students of the institution the
vocational possibilities in art work in another state institution. During the
summer there are about 1,000 teachers assembled for special work, and the
director hopes that the exhibition of art work which we have there will be the
means of guiding them to better appreciation as well as greater power of
expression, and a clearer vision of that to which the institution leads. The
State College authorities bear the entire expense in relation to the transportation
and installation of this exhibit which has been selected and arranged by the
Exhibition Committee of the Alumni Association, and is disposed about the
room to best display the practical character of the instruction and practice in
the preliminary training and results in furniture, pottery, metal work, and
costume, with examples of the Normal Art Courses. This exhibit is likely to
be more serviceable than the one installed at Harrisburg.
The Alumni Association Traveling Exhibition Committee also compiled a
representative collection of the work of the various courses of the School for
the use of the Philadelphia Art Teachers' Association. They have planned to
circulate the work in all the city High Schools.
The students have organized a campaign for the selling of bonds for the
third issue of the Liberty Loan. Their activities are not limited to soliciting
purchases among themselves, but extend to the Alumni and all those identified
with the School's position as a patriotic institution. Robert Paul Marenzana
is chairman of a committee composed of representatives elected by the members
of each class.
The students' contributions to the fund for the Belgian and Armenian
children were :
March -. 110.00
BULLETIN OF THE PENNSYLVANIA MUSEUM
January— March, 1918
Mottled Brown Glazed Doe. Bennington Ware
Porcelain Snuff Bottle
Majolica Tile, Italian. Sixteenth Century
Rouen Water Cistern
37 Plates . Saucers and Plaques. European. Chinese and
6 Pieces of Japanese Pottery
White Delft Tea Jar. Late Eighteenth Centurir
Jar with Handle. Rakka. Xinth Century
Bowl. Rakka. \inth Century. . -
Plate. Koubatcha. Sixteenth Ce.itury '.....'
Medal. Replica of Medal Designed in Germany to
Commemorate the Sinking of the Lusitania
Doll's Cradle. American. Old
Wall Cabinet. American! Old -.......,....,..[[.[..
Throne Chair. Intarsia Work. Italian, Sixteenth Cen-
•Wood Block for Printing Flock 'Wall Paper. .
Arm Chair. American. Old i
Mirror. Mahogany and Gilt. American. Old ,.,...!.! I
2 Carved and Gilded Lecterns. Venetian. Eighteenth
"Butterfly" Table. American, c. 1700
Flip Glass, made by Baron Henry William Stiegel,
Manheim, Pa., 1763-1774
Plate, probably made by Baron Henry William
Stiegel, Manheim, Pa., 1763-1774
Bronze Bust of Osiris. Egyptian
6 Pairs of Brass Candlesticks, Eighteenth Century,
Pair of Pewter Candlesticks. American, Old
Brass Brasero, Spanish
Alabaster Vase from Tivoli
Marble Column from St. Mark's, Venice. .
Marble Carving, Lion's Head
Marble Carving. Bust of Woman
Marble Frieze. Figure of Lions. Vase, etc.
Sheffield Fruit Basket
4 Teaspoons, American, Old.
2 Snuff Bottles
Sheffield Inkstand with Crystal Ink and Sand Bottles
Cruet Stand with Crystal Cruets and Salts
Sheffield Candlestick with Snuffers and Extinguisher
Sheffield Tray and Snuffers
4 Silk and Worsted Bags
Doll. American. Old
Tortoise Shell Purse
8 Pairs of Tortoise Shell Ear-rings
Mother-of-pearl and Gilt Hand Mirror,
Carved Tortoise Shell Prayer-book Cover. . .
Lent by Mrs. Hampton L. Carson.
Lent by Messrs. Walter A.. Horace T
and Maurice T. Fleisher.
Lent by Mr. William Ellis Scull.
Given by Dr. E. S. Vanderslice.
Lent by Mr. Robert Hacker.
Given by Mrs. Gregor Drummond.
Given by Mrs. Frederick Thurston
Lent by Mr. William Ellis Scull.
Given by Mr..Francis Ralston Welsh.
Lent by Mrs. Hampton L. Carson.
Lent by Mrs. W. B. Saunders,
* Given by Mrs. Frederic C. Penfield.
Lent by Mr. William Ellis Scull.
> Given by Mrs. Hampton L. Carson.
Lent by Messrs. Walter A.. Horace T.
and Maurice T. Fleisher.
Lent by Mrs. W. B. Saunders.
Lent by Mrs. John Thompson Spencer.
Lent by Mrs. Hampton L. Carson.
Given by Mrs. Gregor Drummond.
Given by Master Frederick Fraley, Jr.
Given by Dr. E. S. Vanderslice.
> Given by Miss Otilie Bachman,
Lent by Mrs. W. B. Saunders.
Given by Mr. Howard F. Stratton.
The Trustees of the Pennsylvania Museum
and School of Industrial Art desire the active
co-operation of all public-spirited citizens
who are known to be in sympathy with its
educational work. All such persons are
invited to become members.
CLASSIFICATION OF MEMBERS
Patron Members in Perpetuity — Those
who contribute the sum of $5000 or more
whether in money or objects for the Museum.
Fellowship Members in Perpetuity — Those
who contribute $1000 at one time.
Life Members — Those who contribute the
sum of $100 or more at one time.
Annual Members — Those who contribute
not less than $10 yearly.
The contributions received from Patrons
($5000), and from Life Members ($100), are
added to the permanent Endowment Fund.
Contributions from Annual Members ($10)
are used to the best advantage in the develop-
ment of the Museum and the School.
ADVANTAGES OF MEMBERSHIP
All members are entitled to the following
The right to vote and transact business
at the Annual Meeting.
Invitations to all general receptions and
exhibitions held at the Museum and the
Free access to the Museum and School
Libraries and admission to all lectures.
Also a copy of each of the following pub-
The Annual Report of the Corporation.
The Annual Circulars of the School of
Applied Art and the Philadelphia Textile
The Art Handbooks and Art Primers,
issued from time to time by the Museum
(a printed list of publications will be mailed
to any member on application).
The Illustrated Quarterly BriLiETiN of the
A list of members is published each year
in the Annual Report.
Applications for membership, and remit-
tances should be sent to the Secretary,
P. M. & S. I. A., 320 South Broad Street,
HOURS OF ADMISSION
The Museum is open, free to the public,
every day in the year.
Mondays at 12 M.
Other Week Days at 9.30 A. M.
Sundays at 1 P. M.
During the summer months, 5 P. M.
(Sundays, 6 P. M.)
During the winter months, a half hour
CATALOGUES, HANDBOOKS, ETC.
(On sale at the South Entrance)
Handbook of the Museum $0.25
A Brief History of the Bayeux Tapestry . 10
Cork Models of Windsor Castle, Tower
of London, Westminster Abbey,
Church of St. Peter, Rome 10
The Great Seals of England 25
Handbook of the Collection of Tulip
Ware of the Pennsylvania-German
Paper cover 1 . 00
Large paper edition. Cloth 5 . 00
Handbook of the Maiolica of Mexico:
Paper cover 1 . 00
Flexible Art Canvas 2.00
Art Primer No. 3, Lead Glazed Pottery .50
Art Primer No. 5, Tin Enameled Pot-
Art Primer No. 6, Salt Glazed Stone-
Art Primer No. 9, Hard Paste Porce-
Art Primer No. 1 1 , Artificial Soft Paste
Bulletin of the Pennsylvania Museum
(quarterly), per annum 1 . 00
Catalogue of Tiles 25
Catalogue of Fakes and Reproductions .25
Friends of the Institution who desire
to devise to it money should use the fol-
Form of Bequest
I give and bequeath unto the Pennsyl-
vania Museum and School of Industrial Art
the sum of dollars
for the use of the said Corporation.
Form of Devise of Real Estate
I give and devise unto the Pennsylvania
Museum and School of Industrial Art, its
successors and assigns, all that certain (here
insert a description of the property) for the
use of the said Corporation.
AND SCHOOL OF INDUSTRIAL ART
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